Monday, August 31, 2009

Loop reviews ikon

Eventless Plot the Thessaloniki, Greece-based trio delivers an electro-acoustic sound using clarinet, piano, melodica, guitars, and processed electronics.
"Ikon" is their fourth release to date after some splits and compilation appearances in independent labels.
They blend keyboards, glitchy snippets and jazz like sounds. The effect is a flickering tension between improvised and composed ambience.
The omnipresence piano notes on “Ikon 3” give classical touch alongwith digital sound bits, a perfect soundtrack for a thriller. “Habit Habitant” continues these dark passages with deep keyboard lines that go beyond the horizon. Stunning! On “Two Season and Autumn” merged slide acoustic guitar sounds and domestic found sound objects that interact perfectly.
“Ikon” is a gorgeous album where improv compositions and more structured ones are well-balanced.

Guillermo Escudero
August 2009


Thursday, August 27, 2009

ikon review by textura magazine

After split releases with Mescalina Eden (Gracetone, 2005) and Good Luck mr Gorsky (Granny, 2008) and a few compilation appearances, Eventless Plot steps out with its debut full-length ikon. On the forty-minute disc, the Thessaloniki, Greece-based trio generates electro-acoustic pools of processed electronics, field recordings, microsound textures, samples, and the acoustic sonorities of clarinet, piano, melodica, and guitars in six heavily-textured settings.

“Ideate. Words Cannot,” a slow-motion ambient workout of processed stutter and fuzz, provides a credible opener, if one not much different in character from electro-acoustic settings of its kind heard before. Much of what follows, on the other hand, is distinctive, in large part because many of the subsequent pieces use one or two acoustic instruments as their core. “Harck Back” sounds wholly unique in its marriage of clarinet meander (by Tasos Stamou) and space age electronics. There's a rhythmic pulse at work but it's more felt than stated, and the piece crawls along at a lumbering pace—all the better for the clarinet and electronics to pursue their explorative trajectories. In similar manner, a brooding piano motif occupies a central position in “Ikon.3,” acting as the glue holding together the speckled electronic dust that sputters, clicks, clanks, and pops throughout. The electric guitar takes its turn at center stage in the album's densest setting, “Paraccium,” as a cauldron-like broil writhes alongside guitar shadings and, again, clarinet playing. Though speckled with acoustic guitar fragments, “Two Season and Autumn” is reminiscent of the shape-shifting processions of manipulated sounds that flow through Entain and Multila's long-form tracks—until, that is, a loud whirring noise nearly swallows “Two Season and Autumn” whole.

Though the penultimate piece, “Habitat Habitant,” a heaving cloud formation of electronics and processed sounds, reverts to the protoypical “glitch” focus of “Ideate. Words Cannot,” its doing so doesn't overshadow the individuating quality of the album's surrounding material. Ultimately, one could just as easily imagine 12k releasing ikon rather than Granny, given the album's atmospheric and sculpted character. Still, what sets the release apart from others in its category is its inspired incorporation of acoustic instrumentation.


Saturday, August 15, 2009

Australian magazine Cyclic Defrost reviews Ikon.

Eventless Plot is something of a misnomer, as the post-clicks n’ cuts electroacoustics of this Greek ensemble displays more confidence and direction than most in this game. The three-piece use a variety of organs, field recordings and digital processing to create beatless flickering pieces that resemble the work of 12k artists like Seaworthy and Sawako. It’s almost ambient, but too unsettling, with wavering sine tones touching on almost-painful highs and a cold, reverberant din evoking the alien(ated) terror of the abandoned space stations of science fiction films.

In ‘Ideate.Words Cannot’ a bass drone looms low like a shark, forcing greater shivers from the surrounding waves, while ‘Ikon 3′ pits springy analogue tones against a spacious laptop-keyboard duet worthy of Alva Noto and Sakamoto. Eventless Plot are at their finest in dialogues of this sort, best demonstrated in ‘Harck Back’ where Tasos Stamou guests on clarinet, duelling with aquatic digital blurts like some kind of undersea jig, drowning in a submerged New Orleans jazz-joint in the midst of Katrina.

Joshua Meggitt


Thursday, August 06, 2009

Sound Proector Reviews ikon

Recently I got the debut work of another, unknown for me Greek project
Eventless Plot. Music of this trio is a mixture of experimental ambient and various live instruments such as piano, clarinet, guitar, it all is skillfully filled with characteristic electronic microsounds. One can hear something similar in releases of such labels as Mille Plateaux, Raster-Noton or 12k. I found something interesting and catching in this album. The sound doesn't just spread over the walls and doesn't drone monotonously, there is the development of composition, even not development but a hint at development that makes Eventless Plot's work a little bit delusive and misty. Discernible inescapable melancholy doesn't make acquaintance with this album simple, though it's interesting to listen to it as if you were opening the new verges of your perception. Above-mentioned live instruments perfectly fit into general sounding, using these instruments, to my mind, points ikon out among many other similar works. For example in track "Harck Back" exactly clarinet accentuates the darkish tones creating the atmosphere of such noir from 'twilight zone'. And the repeating piano chords in "Ikon.3" sound even a little bit frightening but at the same time attractive and charming.
The album must undoubtedly interest the fans of various experiments, there are enough of them and the 40 minutes of the record pass without mention. (sound proector)

Eventless Plot have joined sound proector's last podcast here

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